Black Gate

Lone Wolf and Cub 1: Sword of Vengeance (Japan, 1972)

Lone Wolf and Cub, the celebrated samurai manga series by writer Kazuo Koike and artist Goseki Kojima, began in 1970 and, wildly popular, eventually ran to many thousands of pages and was adapted to both film and television. However, it was virtually unknown in America and Europe until 1980 when the compilation Shogun Assassin was released, drawing on the first two motion pictures. But Shogun Assassin emphasized the series’ brutal violence and was regarded by most in the west as trash cinema, a reputation that was unchanged until 1987 when the Lone Wolf and Cub manga series was finally republished in the US and UK by First Comics. With covers and endorsements by then-fan-favorite Frank Miller, the comics were widely acclaimed, and the movies finally found release in the United States and Europe in their original forms.

This week we’re taking a look at the first three Lone Wolf movies from 1972-73. Despite their level of gore and carnage, which was considered extreme at the time, these are serious films, adapted from the manga by Kazuo Koike himself. Their success is all the more remarkable because star Tomisaburo Wakayama, middle-aged and heavy, looks so little like a samurai matinee idol. But Wakayama had been a dedicated martial artist before he became an actor, and his surprising athleticism adds depth and credibility to the role.

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I don’t really know what to say about detectorists (lower case intentional), which I finished watching this morning. It’s not much of a binge, since there are only nineteen half-hour episodes.

Except to say that this is the sort of thing I want to watch at this stage of my life. Quietly amusing rather than uproariously funny; gently engaging rather than gut-wrenchingly dramatic. It is almost completely devoid of sitcom clichés. No handsome leads — Andy (Mackenzie Crook) looks exactly like a dastardly pirate (he actually was in one or more of the Pirates of the Caribbean movies), and Lance (Toby Jones) looks like a garden gnome. And yet, you grow to like them so much that they become almost handsome. They’re bog-standard middle aged guys who lead mundane lives — but, crucially, they’re not losers. They’re everymen in whom hope springs eternal.

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This article contains minor spoilers for Masters of the Universe: Revelation.

Our mighty Eternian hero and his celebrated motley crew of bouncing and shooting heroes did not originate as the beloved moral wielding Filmation show (aka marketing campaign) of the 80s. His origins are much more concrete than animation cells, mired in plastic and slime. Before he uttered the words “By the Power of Grayskull” on TV to throngs of enthused children, he first held up a plastic Power Sword in his molded toy hand.

Well, half a Power Sword.

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El Cid (USA/Italy, 1961)

“Inspired by historical events”: the dreaded phrase that history wonks have come to learn usually means “bears little resemblance to historical events.” But hey, historical epics have to start somewhere, and it might as well be with a little history. To be fair, historical adventure film concepts often start from the best available accounts, but then scripts get rewritten and rewritten again, producers and directors have their own ideas about how the screenplay should get visualized, and before you know it you’ve got… well, El Cid (1961) for one, with a couple of other examples as well, including an admirable entry in The 300 Spartans (1962), which tries harder than most to get it right. I’ll be interested to hear what you think.

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Zatoichi’s Vengeance (Japan, 1966)

The Zatoichi films, a chambara series that features Shintaro Katsu as a blind yakuza swordsman, was very popular in Japan, running throughout the Sixties and totaling 19 films in quick succession, followed less rapidly by a final half-dozen “special” entries. Though the films in the series tend to follow a familiar formula, they are successful because the elements of that formula are a rich mixture of suspense, pathos, action, comedy, and wistful romance. Katsu’s Zatoichi is a blind masseur at the lowest level of Shogunate Japan’s social hierarchy, but he deeply resents the abuse he suffers from his social betters, and his preternaturally keen senses enable him to develop the skills of a sleight-of-hand gambler and, more importantly, a lightning-fast swordsman. A master of iaijutsu, or the slash on the draw, Ichi holds his blade in a reverse grip that is lethally effective when he gets inside the guard of those wielding longer katanas. He also has a lightning wit that enables him to suss out plots and conspiracies from a few overheard clues. Best of all, though he has a temper, Ichi is inherently good-hearted and always comes to the aid of the vulnerable suffering at the hands of their abusers.

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